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18. Magic
Scene 3 begins with the same ungainly motives that characterised Alberich when he first appeared to the Rhine maidens in Scene 1, this time as Alberich taunts his brother Mime. As Alberich dons the Tarnhelm (the magic helmet) the magic motive is heard for the first time. It is principally associated with the magic helmet but used to convey mystery and/or magic whenever it is invoked throughout The Ring Cycle.
19. Subjugation
The first two notes of Rhinegold Lament Ex.6b is extended into a longer motive and combined with the Nibelung motive Ex.17 to express Alberich's enslavement and subjugation of the Nibelungs.
As Wotan and Loge arrive in Nibelheim, Mime tells them his tale of woe of how Alberich has enslaved and mistreats him and the Nibelungs. The key motives are the Nibelungs Ex.17, the Ring motive Ex.7 and the wailing two-note motive of Subjugation Ex.19. When Mime explains that Alberich is able to wield this power by using the Tarnhelm the magic motive Ex.18 is heard.
It can be seen how far Wagner's skill has developed by listening out for what some commentators refer to as the Reflection motive, played by bassoons and heard as Mime outlines his tale of woe to Wotan and Loge. It is not a new motive. Indeed it is not a motive at all since it does not recur throughout the cycle. It is a distillation of the Ring motive Ex.7 into its simplest outline, infused with the harmonic ambiguity of the Magic motive Ex.18.
Alberich returns to prevent Mime from continuing his tale of woe to Wotan and Loge and to demonstrate his dominance over the Nibelungs to emphatic statements of the Ring motive Ex.7a and Rhinegold Lament Ex.6b. Alberich is cynical about the reason for the visit by Wotan and Loge. They flatter him that there are here to see for themselves the powerful wielder of the Ring of whom they have heard.
20. Hoard
As Loge and Alberich debate we hear Fire Ex.15 and a motive which represents the hoard of gold. While it is a new motive it is derived from the last three notes of the Ring motive Ex.7b. Bassoons and bass clarinet play the upper line while cellos and basses play the lower line.
Wotan asks what use is all the wealth. Alberich responds that there is beauty in the hoard for its own sake while a solo violin recalls fragments of the Freia motive Ex.11. Alberich then explains that he will one day rule the world as he has forsworn love to which we hear the Love and Power motive Ex.8. Finally he states that he will one day remove Wotan from his seat of power and inhabit it himself to a distorted version of the Valhalla motive Ex.9.
21. Dragon
Wotan is angered by Alberich's impudence but Loge continues to flatter Alberich and taunt him. Loge expresses his skepticism that the Tarnhelm has the power to transform him into any shape or form. Alberich responds with an incantation to the accompaniment of the Magic motive Ex.18 and turns himself into a fearsome dragon.
Wotan and Loge feign terror at the sight of the dragon. When Alberich returns to his true form, Loge goads him again this time suggesting that making himself larger is easy but he surely could not make himself small. Alberich responds again with an incantation to the Magic motive Ex.18 and turns himself into a small toad. While in this form Wotan and Loge pounce on him and bind him.
Orchestral Interlude
With Alberich bound and captured, Wotan and Loge take the journey back to Valhalla. Anvils again indicate the Nibelungs at work as motives tumble over one another including:
Nibelungs Ex.17
Ring Ex.7
Earthly Love Ex.16
Freia/Love Ex.11c
Giants Ex.12
Subjugation Ex.19
Golden Apples Ex.14
Hoard Ex.20
